Reality Prose

 

Music Summer Pustertal: Magical Baroque blessedness with "II Botto Forte"

 

By C. F. Pichler

 

Innichen. Whatever musical miracle dream sounds down from the sanctuary in the magical abbey church of Innichen into the fully occupied church, may only be explained, because firstly the effectiveness of the Baroque deeply moves in itself, but when the famous ensemble "II Botto Forte" is playing, it is too beautiful not to pray along.

 

Together with the "Brixner Initiative Music and Church" an initiation game under the changing canon “sacro-profano” is celebrated at the "Music Summer Pustertal", which was recorded by the most significant cultural radio stations Ö1 for its legendary concert broadcast - "old music – newly interpreted”.

 

Very much in the double meaning of grace, gratitude and mercy, the artists of "Il Botto Forte" play everything so youthful that our ears perceives familiar sounds like a quote from the permanent happiness, in which we are in the midst of its embrace.

 

Even the symphony of the Bach cantata " In the evening of that same Sabbath” shows with a smooth fine-tuning, however with the verve of joint tempos, the paschal desire of the resurrection, which opens our eyes as it were on the road to Emmaus with an episodic Cantabile of the oboes and the bassoon.

 

More profane, but no less spiritual, played in the soothing mezzoforte, we hear the essential humor, the mercy by Händel in the  organ Concerto no. 13 "cuckoo and nightingale" as spreading happiness, when the transfiguring organist with the watchful violins and the solo recorder play the mimetic cuckoo sounds, until organ and solo violin conclude this “Great” music at the larghetto so beautifully and without a two-way division as morning twittering of birds.

 

Yes, this youthful freshness and charms are psychological work for Oboe Concerto No. 2 of Alessandro Marcello with an outstandingly interpreted magic adagio, played sensitively by Shai Kribus. The highly musical ensemble - a retraction of the wind players would sometimes be noticeably more pleasant - celebrates with the effect of melodic warmth and with an outstanding co-play the Concerto for recorder (A minor) by Telemann. Shai Kribus plays the recorder part, with the autonomy of the reality prose sounding as an expressive song,  without even one overbearing  recorder sound despite the magnetizing virtuosity.

 

Firstly, the Tutti game is so serene, as if from another world – is this the road to Emmaus? - and then the others do not only play in the most beautiful dialogic change, but all of them touch by poetically felt music lyrics, which goes beyond the profane. The accusation that Telemann has often written recovery music is refuted here to belabor the point, as well as the Violin Concerto "fatto per la Solennità della Santa Lingua di Sant'Antonio in Padua" by Antonio Vivaldi.

The latter alone has composed 30 violin concerts for the violinist Anna da Violin (!), probably this too, but whatever the solo violinist Boris Begelman served up in this piece, is gigantic musical excellence, in which sonic gaps merge seamlessly into the orchestra play. The violin part (Vivaldi) certainly has been carved out of the entire piece,  when solos whizz in heaps like desirous happiness; yet, some things are of intimate beauty when the fioritures are strung tenderly. But then Begelman plays a subversive fable cadence, almost on the highest, barely perceptible layers, so amazingly that the audience dazedly goes berserk.